Sara Romersberger is currently Assistant Professor of Movement at Southern Methodist University in the Division of Theatre. She holds an MA in Dance from the University of Illinois and a Certificate of Mime/Movement from Ecole Jacques LeCoq, Paris. Prior to joining the faculty at SMU, she held full time faculty positions at Illinois Wesleyan University and West Virginia University. In NYC, Sara has danced with the Julie Maloney Dance Company and the Wendy Osserman Dance Company and has directed, choreographed and performed her own brand of movement theater Off-Off Broadway at The Mint Theatre (Jackson Pollock: IN THE PAINTING) and at Primary Stages (Hanna: A RUN-ON ODESSEY). Since 1980 she has choreographed over forty professional and university musicals. Since moving to Texas in1998, she has created the movement and choreography for The Robber Bridegroom, Red Noses, The Illusion, The Threepenny Opera, As Five Years Pass (all SMU Theatre) as well as Street Scene (SMU Opera), and The Merry Widow (UNT Opera). She has choreographed fights, dances and physical comedy for The Comedy of Errors at the Unseam¹d Shakespeare Co., Pittsburgh, as well as The Compleat Works of William Shakespeare (abridged) for The Shakespeare Festival of Dallas. For the Dallas Theater Center, Sara has choreographed dances for Crumbs from the Table of Joy and Hamlet and movement for Wit. Elsewhere in the Metroplex; Misery for Circle Theatre, Fort Worth, and A Man¹s Best Friend, Silence, and The Late Henry Moss at The Undermain Theatre, Dallas and for Plano Repertory Theatre, The Last Five Years. Sara directed Twelfth Night and designed and created commedia masks for her production of The Three Cuckolds at SMU. In 2002, Sara has completed her CD ROM: "Unlocking the Physicality of Shakespeare¹s Comedies with the Masks of the Commedia" and her work - connecting the use of commedia masks as a way to teach the comedy of Shakespeare - has been presented at the Association of Theater in Higher Education, at MASKS, a National Conference on Masks of the Theatre and at SAPVAME, the South African Performers¹ Voice and Movement Educators Conference in Pretoria, South Africa.

Deborah Robertson received her MFA, in Dance Performance, from Smith College, and her BA in Dance, from the University of Colorado , Boulder . She is a certified teacher of the Williamson Physical Training for the Actor, and was trained by Loyd Williamson at the Actors Movement Studio in New York City . She has studied Laban Movement Analysis at the Laban/Bartenieff Institute of Movement Studies in New York , the Webster Movement Institute in St. Louis , and the Royal National Theatre in London . She is currently studying the work of Michael Chekhov. As an actress she completed the two-year Meisner training with William Esper in New York City and studied with Stephen Strimpell at HB Studios in New York .

Ms. Robertson is an Associate Professor, Head of the BFA Acting Program, and the Undergraduate Advisor for the School of Theatre and Dance at Northern Illinois University , an U/RTA, NAST program. She teaches movement in the BFA and MFA Professional Training Programs. She is also the Head of Movement at The Actors Center, Chicago. She has previously been on the faculties of the Mason Gross School of the Arts, at Rutgers University , and the Actors Movement Studio in New York . Her work as a choreographer and movement coach has been seen internationally, in regional theatres, university productions, and on television. As an actress and dancer, she has appeared on Broadway, National Tours, Off Broadway, industrials, regional theatres around the country, and on television. She is a member of the Michael Chekhov Association, Actors Equity and the Screen Actors Guild.

She is currently working on the creation of a digital video documentary of Loyd Williamson and the movement training that he created.

Ken Elston is Assistant Professor of Theatre at George Mason University in Fairfax, Virginia and the Resident Theatre Artist at the Maryland Institute College of Art in Baltimore. He teaches Acting and Directing with a speciality in movement for the stage and one-person show development.

He is the Artistic Director of the Gray Ghost Theatre Company, dedicated to bringing history to life on the stage through theatrical works that are exciting, inventive and relevant. Ken's other works as a director includes directing his own translation of Moliere’s The Imaginary Invalid with the Chesapeake Shakespeare Company, the Off-Broadway productions of The Adjustment (as assistant director to Pam Berlin) and A Vow of Silence (both at Playhouse 91), as well as several university and regional productions. Regionally Ken serves as a fight director and movement coach, having coached Bartleby for Journeyman Theatre, Le Bourgeois Avant Garde at Catholic University, An American Song, for Spotlight on the Spirit Productions, and Children of Eden and The Civil War for the Prince William Little Theater. His direction of For Alejandra won honors at the Source Theatre in DC and the 2002 Dubrovnik Theatre Festival.

Ken has trained with both Marcel Marceau, and Jacques Lecoq, and he has worked with many master teachers of stage combat. He holds an MFA from the Ohio State University, studying there with Reid Gilbert and Jeanine Thompson.

As an actor Ken has worked on stage, television and in film. Some of those credits include productions of Rashoman, Romeo and Juliet, The Country Wife, Dangerous Corner, and The Cherry Orchard. Ken has appeared in Woody Allen’s Celebrity, Patrick Wright’s Minivan, Albert Pyun’s Brain Smasher, and in such television shows as The Sopranos, Dellaventura, and Unsolved Mysteries.

Ken is a member of the Actor’s Equity Association, Association of Film, Televison, and Radio Artists, the Screen Actor’s Guild, and the Society of Stage Directors and Choreographers. He is on the board of The Oberon Theatre Ensemble in New York, is a board member of the Mount Zion Church Preservation Association, and is the past president of the Illinois Theatre Association.

Annette Thornton, a Lawrence University Fellow in the Liberal Arts and Sciences, received her Ph.D from University of Colorado, Boulder. Her interests are mime and movement, having studied Biomechanics and Meyerhold Technique with Gennadi Bogdanov. She also has a background in musical theatre and opera, and women’s studies and history.

Sarah Barker received her MFA in Performance from Southern Methodist University, 1974. She is currently Associate Professor of Theatre Movement and Acting. She headed the MFA Acting Program at University of South Carolina from 1998-2005. She was Head of Movement Training for Webster University's BFA acting program for ten years and Head of the MFA Acting Program at the University of Pittsburgh for eight years.

Sarah Barker, a nationally recognized leader in movement training for actors, is currently the President of the Association of Theatre Movement Educators. She is an internationally known expert in the Alexander Technique. Her book, The Alexander Technique, has been distributed worldwide and has been translated into French, Japanese, Portugese, and German. She has published in Theatre Topics and is a reviewer for them She has presented over sixty panels and workshops at conferences including the Association of Theatre in Higher Education, The International Federation of Theatre Research and the Southeastern Theatre Conference.

Sarah Barker has coached movement for over fifty plays, among them, professional productions of Twelfth Night, Julius Caesar, A Midsummer Night’s Dream, The Tempest and Lear at Shakespeare and Company. Sarah is also a member of the training staff of the Actor’s Intensive Workshop associated with Shakespeare and Company (Lenox, Massachusetts) where she has taught movement and acting since 1986.
Sarah Barker has also acted professionally, in roles including Madame de Rosemonde in Les Liaisons Dangereuse, Kath in Entertaining Mr. Sloan, Ophelia in Hamlet, Carol Cutrere in Orpheus Descending and Honey in Lenny Bruce.. For Theatre South Carolina she performed Eliza Gant in Look Homeward, Angel , Judith Bliss in Hay Fever and Amanda in the Glass Menagerie. In May 2005 she will produce and perform in an experimental production of The Bacchai.